unit 15 guided study notes 2018 -...

Name:___________________________ Date:_______Period #:______

Unit 15 Guided Study Notes

Glossary (memorize these) :• Aeolian Mode: A Natural minor Scale, or A to A on the white keys of the piano (p. 99)

• Block Chord: The notes of a chord are played together (p 103).

• Chord Progression: When chords move from one to another, for example:

I -- IV -- V7 -- I (p. 87, 97).

• Diminished Triad: A minor Triad that has been made smaller by lowering

the 5th by ½ step (p. 93)

• Dorian Mode: A natural minor Scale with the 6th raised a half step, or

D to D on the white keys of the piano (p. 98)

• Closed Position: Notes of a chord are spaced within an octave (p. 83)

• Harmonic Minor Scale: Raises the 7th tone of the Natural Minor Scale by ½ step ascending

and descending. Most frequently used type of the minor scale (p. 91).

• Harmony: The study of 'Harmony' involves chords and their construction and chord

progressions and the principles of connection that govern them (p. 96).

• Ionian Mode: A Major Scale, or C to C on the white keys of the piano. (p. 98)

• Locrian Mode: A Natural minor Scale with the 2nd and 5th lowered a half

step, or B to B on the white keys of the piano (p. 98).

• Lydian Mode: A Major Scale with the 4th raised a half step, or F to F on the white keys

of the piano (p. 98).

• Minor Triad: Triad consisting of a root, minor 3rd and a Perfect 5th. In Major Keys, Triads

with the root on the 2nd, 3rd or 6th scale degrees (p. 92). In Minor Keys using the

Harmonic Minor Scale, Triads with the root on the 1st or 4th Scale Degrees (p. 96)

• Mixolydian Mode: A Major Scale with the 7th lowered a half step, or G to G on the

white keys of the piano (p. 98).

• Mode: A system of scales that began in ancient Greece. It consists of eight notes in

alphabetical order (p. 98).

• Natural Minor Scale: Scale using only the tones of the 'Relative Major Scale' and

beginning on the 6th tone (p. 91)

• Phrygian Mode: A Natural minor Scale with the 2nd lowered a half step, or E to E on the


• Primary Triads: I, IV and V chords in a Major Key. For a minor Key, the Harmonic

minor Scale is used to determine the i, iv, and V chords (p. 96).

• Relative Major Scale: Made up of notes beginning on the 3rd tone of the

'Relative Minor Scale (p. 90).

• Relative Minor Scale: Scale made up of notes beginning on the 6th tone of the

'Relative Major Scale' (p. 90)

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Let's review how to find the 'Relative Major Key Signature' for a minor Key! Remember that each minor Key must

borrow a Key Signature from their 'Major Cousin'! Let's review Example #1, below.

Minor scales share the Key Signature of their Relative Major Key. Example #1 shows that relationship very clearly.

All of the notes in the E Minor Scale are found in the G Major Scale with the difference between the two just the

starting note or Tonic. The G Major Scale starts on G which is its Tonic and the E Minor Scale starts on E whichis its Tonic.

Example #1:

G MAJOR:

E MINOR:

In Example #1, above, can you see a relationship between the tonic of E minor and the tonic of G Major? Each minor

Scale/Key has a relative (cousin) Major Scale/Key that uses the same notes and Key Signatures however each starts

on a different note (Tonic).

Memorize: to find the 'Relative Major Key' for a minor Key go UP a minor 3rd! What is the distance and direction

of the E tonic note and the G tonic note in Example #1, above?

Here's another question you could ask yourself: "In what Major Scale/Key is the minor Scale tonic the 6th scale degree?"

The E Minor Scale above is a Natural Minor Scale because all the notes belong to its 'relative Major', G Major. In

other words, 'E to E in the Key of G Major is the E Natural Minor Scale'. Study Example #1.

Exercise #1. Let's review writing Natural Minor Scales! First write the 'Relative Major' Key Signature and

then the Natural Minor Scale (use quarter notes as shown in Example #2):

Scale Degrees: 1 2 3 4 5 6 7 8

Tonic

Tonic

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3. Eb Natural Minor Scale 4. G# Natural Minor Scale

5. C# Natural Minor Scale 6. Ab Natural Minor Scale

Example #2:

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Name:___________________________ Date:_______Period #:______

Lesson 60 'The Primary Triads in Minor Keys'

Score page 2

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Lesson 60 'The Primary Triads in Minor Keys', continuedRemember the Primary Triads in Major? I, IV & V are Primary because in a Major Scale/Key they are Major

Triads and they contain every note of the Major Scale! In other words, you can harmonize any diatonic tone of

of a Major Scale using just those 3 chords! Pretty amazing!!

In a minor Key the most important Triads are built on the 1st, 4th and 5th Scale Degrees, just like Major, and

they are also called the Primary Triads! They are called the Primary Triads because they contain every note of

the minor Scale. They are identified by the Roman Numerals i, iv & V, as shown in Example #3, below:

Notice the raised 7th !

� 1 2 3 4 5 6 7 8

Roman Numerals: i iv V

A minor D minor E Major (raised)Notice that the i and iv chords are minor chords because they consist of the root, a m3 and P5 (see page 92).

Notice that the V chord is Major because we use the Harmonic minor Scale as the basis for minor Harmony.Remember that you must 'Raise the 7th' for the Harmonic minor Scale! (do you see a G# in the circled Key?)

Notice that the 'raised 7th' G# applies to the 3rd of the V chord!

Notice that the G of the V chord is sharped because the A Harmonic minor Scale has the 7th raised a half-step!

Notice that without the 'raised 7th' applied to the 3rd of the V chord the V chord would be minor!

Can you play E - G - B and identify that 3-note Triad's quality? Is E - G - B a Major or minor Triad?

Can you play E - G# - B and identify that 3-note Triad's quality? Is E - G# - B a Major or minor Triad?

Is the 'Raised 7th' G# in the circled Key Signature of A minor?

Note: ALL V chords are Major!

Daily Learning Targets 1-7 (Memorize!):

1. As in the Major Keys (p. 75), the most important Triads of a minor Key are built on the 1st, 4th

and 5th Scale Degrees of the minor Scale.

2. The Triads built on the 1st, 4th and 5th Scale Degrees of the minor Scale are called the 'Primary

Triads' or 'Primary Chords' of the key.

3. The Triads built on the 1st, 4th and 5th Scale Degrees of the minor Scale are identified by the Roman

Numerals i, iv and V.

4. They are called the 'Primary Triads' because these three Triads 'contain every note of the minor Scale'.

5. We use the Harmonic minor Scale for minor Scale/Key Harmony (chords)

6. Once you figure out what the 'Raised 7th Accidental' is, apply it to the 3rd of the V chord!

7. ALL V chords are MAJOR!

Essential Question #1 (please think about this)

1. How are V chords made MAJOR in minor Keys/Scales?

Before we continue exploring all the Triads in Minor Keys, let's review how to write Harmonic minor Scales!

Remember we have to write 'Harmonic minor Scales' as the basis for minor Scales/Keys 'harmony' or chords!

Example #3:

A Harmonic Minor

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How to write Harmonic Minor Scales: Let's review how to write Harmonic Minor Scales. The Harmonic Minor Scale has a raised 7th scale degree

compared to the Natural Minor Scale. Remember the raised 7th scale degree will be applied to the V chord!

Here are the 'Completion Steps' for writing Harmonic Minor Scales:

1. Write the 'Relative Major Key Signature'

2. Write the Natural Minor Scale first3. Put scale degree numbers under each note of the Natural Minor Scale

4. Look at the 7th scale degree of the Natural Minor Scale, while being MINDFUL of the KEY

SIGNATURE (is there anything in the KEY SIGNATURE that might affect the 7th scale degree?)

5. Name the 7th scale degree and then decide whether a #, n, or ‹ would be best to RAISE the 7th scale

degree by 1/2 Step. Reminder: you'll use a sharp, natural, or double-sharp to raise the 7th!

6. Since the raised 7th scale degree is a LEADING TONE, write the Note-Letter-Name and the accidental

that raises it on the blank: LT = ______

7. Then write the accidental next to the NOTE.

8. See Example #4! EXAMPLE #4

Eb Natural Minor Scale:

Eb Harmonic Minor Scale: LT = Dn17 œ œ œ œ

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Exercise #2: Use quarter notes to write the following Harmonic Minor Scales. USE THE COMPLETION

STEPS 1-8 above (READ THEM!)

1. D# Harmonic Minor Scale LT = ____ 2. Ab Harmonic Minor Scale LT = _____

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Ear-Training Exercise #1: minor Scale "Type" Recognition! After the minor Key name write the "Type" of minor Scale that you hear.

Write either Harmonic, Natural, or Melodic. Then write the 'Relative Major' Key Signature and a one octave ascending (only) minor

Scale "Type" using accidentals as needed. The correct starting note is given.

1. D ________________ minor 2. G __________________ minor

3. F# ________________ minor 4. G# ________________ minor

5. C ________________ minor 6. E ________________ minor

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Symbols: Am Bo C+ Dm E F G#o Am


Roman #'s: i iio III+ iv V VI viio i

Lesson 60 'The Primary Triads in Minor Keys', continued

Harmonic Minor Triad Scale Chart, Example #5, below

Notice that in Example #5, below, the underlying scale is the 'A Harmonic minor Scale'!

Memorize these Daily Learning Targets 8 - 12:

8. 1st and 4th Scale Degrees are minor Triads & are indicated with lower-case Roman Numerals.

9. 5th and 6th Scale Degrees are Major Triads & are indicated with Upper-case Roman Numerals.

10. 2nd and 7th Scale Degrees are diminished Triads & are indicated with lower-case Roman Numerals + o

11. 3rd Scale Degree is an Augmented Triad (see page 93), & is indicated with Upper-case RN with a + sign.

12. The V chord Major because the 'Raised 7th Scale Degree' is the 3rd of the V chord!

Essential Question #1 (please think about this)1. How are V chords made MAJOR in minor Keys/Scales?

Can you name the 'Root' of each Triad?

What is the 'Root' of the viio chord?

What does a lower-case Roman

Numeral with a superscripto

indicate?

?40 www www www# www wwwa www wwwa wwwChord

Symbols: Am Bo C+ Dm E F G#o Am



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Exercise #3 (Test Question!): Write the KEY & all the chords for the example below using the Harmonic minor

Scale. Write the chord symbols above the staff, indicating whether the chord is Major (chord letter), minor (m),

Augmented (+) or diminished (o). Write the Roman Numerals below the staff using upper case for Major and

Augmented and lower case for minor and diminished. Indicate which chords are Augmented (+) or dim (o). 24 pts

Eb minor: ____ ____ ____ ____ ____ ____ ____ ____

____ ____ ____ ____ ____ ____ ____ ____

Write the

Key ! !

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Ear-Training Exercise #2: Triad Quality Recognition! Listen carefully as each Triad is played 2 times, then write either:

M for Major, m for minor, A for Augmented, or d or diminished. Then build the triad by adding a 3rd and 5th above the given root,

using appropriate accidentals. You'll need: b, #, ∫, & ‹. 1 point for the quality letter (M, m, A, or d) & 1 point for correct 3rd & 5th notes.

1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

_____ _____ _____ _____ _____ _____ _____ _____ _____ _____

11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

_____ _____ _____ _____ _____ _____ _____ _____ _____ _____

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The next ( & very important!) step is to learn how to write the Primary Triads in Minor

Keys! Please follow these completion steps:

Remember you must use the Harmonic minor Scale (the raised 7th!) as the basis for minor chords!

Memorize these completion steps 1-10 to write 'The Primary Triads in Minor Keys':1. Write the 'Relative Major' Key Signature

2. Write the Natural minor Scale, put Scale Degree numbers under each note!

3. Look carefully at Scale Degree #7, being mindful of the Key Signature!

4. Decide which accidental would be best to raise Scale Degree #7 one half-step.

5. Write that note and accidental in the blank LT = _____

6. Next write the i and iv Triads by writing a 3rd and 5th above Scale Degrees 1 & 4 (can you find Scale

Degrees 1 & 4?)

7. BEFORE you write a 3rd and a 5th above Scale Degree #5, look at the note and accidental of the

raised 7th, or the LT.

8. Can you remember what LT = _____? ?

9. REMEMBER you must apply the SAME accidental to the 3rd of the V chord to make it MAJOR.

10. Now WRITE that accidental next to the 3rd of the V chord, and you've made the V chord MAJOR!!

Study Example #5, below. Notice the LT = D#, and the D of the V chord has ALSO been sharped! ! !

Chord

Symbols: Em F#o G+ Am B C D#o Em



TRY to answer these questions:

1. Can you explain how Chord Symbols name the chords?

2. Can you recognize what 'chord types' the Roman Numerals indicate?

3. Can you memorize the Chord Symbols and Roman Numerals of Harmonic minor Scale 'chords'?

Example #5:

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Exercise #4: Build the primary triads for each minor scale by adding two notes to the 1st, 4th, and 5th notes of each scale

to complete the Triad. First write the Relative Major Key Signature and the Harmonic minor Scale. NAME EACH TRIAD.

Follow STEPS 1-10 above (READ THEM!)

1. Eb Harmonic Minor Scale LT = ____ 2. D Harmonic Minor Scale LT = _____

3. B Harmonic Minor Scale LT = _____ 4. F# Harmonic Minor Scale LT = _____

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Unit 15 Activity 1, Exercise #4 completion steps:Remember you must use the Harmonic minor Scale (the raised 7th!) as the basis for minor chords!

Memorize these completion steps 1-11 to complete 'Unit 15 Activity 1, Exercise #4':

1. Look at the Key Signature and write the 'Relative Minor Key' name on the blank line after Key of: __________

2. Remember to go DOWN a 'minor 3rd' to find the 'Relative Minor Key' name from the 'Relative Major Key' name.

3. Grab a BLANK PIECE of manuscript paper and write out the complete Harmonic Minor Scale, using the

completion steps on page 4 of Unit 15 Study Notes.

4. Remember to 'Raise the 7th' by one half-step! Write the 'Raised 7th' (the 'Leading Tone') on the blank after

LT = ________.

5. Step # 4 is VERY IMPORTANT because you must APPLY that accidental to the 3rd of the V chord!

6. Now, on the manuscript paper, next write the i and iv Triads by writing a 3rd and 5th above Scale Degrees

1 & 4 (can you find Scale Degrees 1 & 4?)

7. BEFORE you write a 3rd and a 5th above Scale Degree #5, look at the note and accidental of the raised 7th (LT).

8. Can you remember what LT = _____? ?

9. REMEMBER you must apply the SAME (LT) accidental to the 3rd of the V chord to make it MAJOR.

10. Now WRITE that accidental next to the 3rd of the V chord, and you've made the V chord MAJOR!!

11. Finally, transfer just the i, iv & (MAJOR) V chord to the Activity 1 Exercise 4 worksheet!

Scale Degrees: 1 2 3 4 5 6 7 8 Scale Degrees: 1 4 5 5

Roman Numerals:: i iv V Roman Numerals: i iv V V7

Key of: A minor LT = G# Key of: A minor LT = G#

Study Example #6, below. Notice the LT = G#, and the G of the V chord has ALSO been sharped! ! !

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For EXERCISE #5, let's name the minor Key, and write the primary Triads in root position. Use the Harmonic

minor Scale. Use accidentals as needed, and write the LT = _______. Follow completion steps 1-11, above.

1. 1. 1. 1. Key of: _______ LT = ____ 1. 1. 1. 1. Key of: ________ LT = _____

Chord Symbols: ____ ____ ____ Chord Symbols ____ ____ ____ ____

Scale Degrees: ____ ____ ____ ____ ____ ____ ____ ____ Scale Degrees: ____ ____ ____ ____

Roman Numerals:: ___ ____ ____ Roman Numerals: ____ ____ ____ ____

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2. 2. 2. 2. Key of: _______ LT = ____ 2. 2. 2. 2. Key of: ________ LT = _____




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3. 3. 3. 3. Key of: _______ LT = ____ 3.3.3.3. Key of: ________ LT = _____




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page 8 Lesson 61 & Activity #2, 'Minor Chord Progressions' :

Glossary 'Terms':

1. Chord Progression: When chords move from one to another, i.e., I -- IV -- V7 -- I in a Major

Key or i -- iv -- V7 -- i in a minor Key (p. 87, 97).

2. Chord Symbols: The Chord Symbol begins with the upper-case letter name of the 'Root' note

to indicate a Triad. It is often followed by an abbreviated symbol 'm', '+' or 'o' to indicate

chord quality. If the chord is a Dominant 7th chord the number '7' will be after the upper-case

letter name of the 'Root' note. If the chord is inverted, see Slash Chords, below…

3. Chord Symbols: are used as a shorthand indication of chords, especially in jazz, pop, or folk

music: B indicates a B Major Triad, or the I chord in the Key of B Major. F#7 indicates

the 'Dominant 7th' Chord in the Key of B Major (p. 86)

4. Common Tones: Tones (notes) that are common between adjacent chords! Can you find them?

5. Figured Bass 'Inversion Numbers': Number(s) added to the Roman numeral of a chord to

indicate the inversion of the chord to use (p. 86).

6. Slash Chords: Slash chords are notated with a chord, slash, and a bass note. For example,

G/B is pronounced G over B. G major is the chord, B is the bass note and G/B would

indicate a G Major chord in 1st Inversion! (p. 86)

7. 'Smooth' Chord Progression: Select 1st & 2nd Inversions are used to 'Smooth' a Chord

Progression; usually a 'Smooth' Chord Progressions consists of I - IV64 - I - V6 or

V65 - I in a Major Key (p. 87), or i - iv64 - i - V6 or V65 - i in a minor Key (p. 97)

Unit 15 Lesson 61/Activity 2 Daily Learning Targets:

1. Because the i, iv and V Primary Triads contain all the notes of the Harmonic minor Scale, they

can be used to accompany most simple melodies in minor Keys.

2. The V7 chord is often used instead of the V Triad.

3. Learn that a 'Chord Progression' is a succession of chords that usually feature the 'Primary Chords'.

4. Learn that chords are comprised of 'Scale Degree' notes, or 'tones', from the Major Key, and

that you must recognize & name the 'tones' .

5. Learn that chords can have 'Common Tones' between them.

6. Learn to 'Spell Chords' so that you can recognize 'Common Tones'.

7. Learn that if you keep the 'Common Tones' on the bottom or top of chords, 'smooth chord

progressions' will result.

8. Learn to recognize the difference between 'choppy' and 'smooth' chord progressions

9. Learn that if you keep the 'Common Tones' on the bottom or top of chords, chord 'inversions' will

result, and that Figured Bass 'inversion numbers' must be used to indicate the chord 'inversions'.

10. Learn that you must memorize the chord progression i - iv64 - i - V6 or V65 - i to create a

'smooth chord progression'.

11. Learn that you must memorize the Figured Bass 'Inversion Numbers' for triads and V7 chords!

12. Learn that the 'Inversion Hotline #': (664) 765-4342 can help you remember the Figured Bass

'Inversion Numbers' for triads and seventh chords!

13. Learn that you must memorize the Figured Bass 'Inversion Numbers' for a 'smooth chord

progression'.

14. Learn that you must memorize the Chord Symbols and 'Slash Chords' for a 'smooth chord

progression'.

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STEP #1: Minor (Primary) Chord Progressions- Chords that move (or progress) from one to another are called a CHORD PROGRESSION

- The chord progression, below, which uses the PRIMARY CHORDS (i, iv, V & V7) can be used to

ACCOMPANY (play along with) most melodies. (watch EMT CD-ROM, Lesson 61, p. 97)

- In most progressions, the V7 is used in place of the V chord.

Chord Symbols: Cm Fm Cm G G7 Cm(above)

Roman Numerals: i iv i V V7 i(below)

STEP #2: Understand what makes a Chord Progression 'Choppy'!- The chord progression above sounds CHOPPY because all the chords are in ROOT POSITION.

- Let's take another look at the same CHOPPY ROOT POSITION chord progression below, and look carefully at the bottom notes of each chord!



STEP #3: Understand that a 'SKIP' is 'choppy' and a 'STEP' is 'smooth'!QUESTION #1:

1. What is the bottom note of chord #1 & chord #2? What is the distance and direction from the bottom note

of chord #1 to chord #2?

ANSWER:1. The bottom note of chord #1 is C which goes UP a Perfect 4th to the bottom note of chord #2 which is F.

QUESTION #2:

2. Is a P4 a SKIP or a STEP? Which is smoother?

ANSWER:

2. A P4 is a SKIP, and a STEP is smoother. SKIPS are 'CHOPPY' and STEPS are 'SMOOTH'

QUESTION #3:

3. What is the bottom note of chord #3 & chord #4? What is the distance and direction from the bottom note

of chord #3 to chord #4?

ANSWER:3. The bottom note of chord #3 is C which goes UP a Perfect 5th to the bottom note of chord #4 which is G.

QUESTION #4:

4. Is a P5 a SKIP or a STEP? Which is smoother?

ANSWER:

4. A P5 is a SKIP, and a STEP is smoother. SKIPS are 'CHOPPY' and STEPS are 'SMOOTH'

STEP #3A: attend Tutorial held every Wednesday from 7-7:40am in room 329!

Lesson 61 & Activity #2, 'Minor Chord Progressions'

Note: Follow steps #1 - #14 to understand the mystery of 'Smooth' Chord Progressions!

Note: 'Smooth' Chord Progressions are a big part of Activity 2 homework & Unit 15 Test!

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chord #: 1. 2. 3. 4. 5. 6.


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STEP #4: Understand how 'Common Tones' can 'smooth' a Chord Progression!- How could we change the 'choppy' BOTTOM NOTES to make them 'smoother' BOTTOM NOTES?

- Take a careful look at the first 2 chords. Do the first 2 chords share any 'COMMON TONES'?

NOTE: a 'COMMON TONE' is a note that is in BOTH chords.



- Why don't we write the notes (or 'tones') of each Chord to see if any of the Chords share any

'COMMON TONES'?

- Let's write the Chord Tones below each Chord. Writing the Tones of each Chord is called 'Spelling the

Chord. - STEP #5: learn how to write Chord Tones under each Chord to explore 'COMMON TONES'!


Roman Numerals: i iv i V V7 i

(below) F

Fifth: G C G D D G Fifth

Third: Eb Ab Eb Bn Bn Eb Third

Root: C F C G G C Root

Chord number: 1 2 3 4 5 6

NOTE: Write the 'Tones' of each Chord in 'ROOT' position, see above!:

STEP #6: Now take a careful look at the Chord Tones & answer these QUESTIONS:1. Do you see any 'COMMON TONES' between Chord #1 (the C Chord), Chord #2 (the F Chord), and

Chord #3 (the C Chord)?

2. If so, circle them and draw a RED line between them.

3. Do you see any 'COMMON TONES' between Chord 3 (the C Chord), Chord 4 (the V Chord), Chord 5

(the G7 Chord), and Chord 6 (the C Chord)?

of chord 1 to chord 2?

4. If so, circle them and draw a BLUE line between them.


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&103 wwwChord Symbols: Cm Fm Cm G G7 Cm(above)

Roman Numerals: i iv i V V7 i(below) F :Seventh

Fifth: G C G D D G :Fifth

Third: Eb Ab Eb Bn Bn Eb :Third

Root: C F C G G C :Root


chord #: 1. 2. 3. 4. 5. 6.www wwwwww wwww www

Lesson 61 & Activity #2, 'Minor Chord Progressions'page 10

& bbb108 wwwChord Symbols: Cm Fm Cm G G7 Cm(above)

Roman Numerals: i iv i V V7 i

(below) F :Seventh





STEP #7: LOOK at the 'COMMON TONES' between Chords 1, 2 & 3!

1. The COMMON TONE between Chords 1, 2 & 3 is the note 'C'2. Why don't we use an Inversion for Chord 2, so that the BOTTOM NOTE of Chord 1 can be the same

BOTTOM NOTE of Chord 2 and Chord 3?

3. What INVERSION of Chord 2 would put the 'C' of the IV Chord on the BOTTOM? Is the note 'C' of the IV Chord

the 'Root', 'Third' or 'Fifth'?

4. OK, the note 'C' of the IV Chord is the 'Fifth'. What Inversion of the IV Triad has the 'Fifth' on the BOTTOM, and what

Inversion Number is used next to the Roman Numeral?

5. OK, the 2nd Inversion has the 'Fifth' on the BOTTOM, so let's RE-ARRANGE the IV into a IV64 Chord!

chord #: 1. 2. 3. 4. 5. 6.www wwwwwwn wwwwN www

& bbb wwwChord Symbols: Cm Fm/C Cm G G7 Cm(above)

Roman Numerals: i iv64 i V V7 i

(below) F :Seventh





STEP #8: RE-ARRANGE the IV Chord into a IV64 Chord, and see if the BOTTOM NOTES between

Chords 1, 2 & 3 look SMOOTHER!

STEP #9: Look carefully at the BOTTOM NOTE of Chord #2 (iv64) and then answer the following

four questions:

1. Is it the same BOTTOM NOTE as Chords #1 & #3?

2. Considering that the I Chord should STAY in 'Root' Position, does the IV Chord in 2nd Inversion look

like a good Inversion to make this Chord Progression 'SMOOTHER'?

3. Look carefully at the IV64 Chord; what is the 'Root' of the IV64? Is it the same 'Root' as the IV Chord?

4. Where is the 'Root' of the IV64 Chord?

chord #: 1. 2. 3. 4. 5. 6.

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Lesson 61 & Activity #2, 'Minor Chord Progressions'page 11

& bbb118 wwwChord Symbols: Cm Fm/C Cm G G7 Cm(above)

Roman Numerals: i iv64 i V V7 i

(below) F :Seventh





STEP #10: Are there 'COMMON TONES' between Chords 3, 4, 5 & 6? Remember they are circled

and marked with BLUE lines!

1. The 'Common Tone' between Chords 3, 4, 5 & 6 is the note 'G'!

2. Remember that the I Chord should remain in 'Root' Position (because that's the STRONGEST

position!)

3. Could we put the 'Common Tone' on the BOTTOM of each Chord or the TOP of each Chord?

4. Can 'Common Tones' be on the TOP of a Chord?

5. If we KEEP the I Chord in 'Root' Position, what Inversion of the V & V7 Chord should we use

for the note 'G' to be on the TOP of each Chord?

Lesson 61 & Activity #2, 'Minor Chord Progressions'

chord #: 1. 2. 3. 4. 5. 6.www wwwwwwn wwwwN www

& bbb123 wwwChord Symbols: Cm Fm/C Cm G/Bn G7/Bn Cm(above)

Roman Numerals: i iv64 i V6 V65 i

(below) F :Seventh





STEP #11: EXPLORE the 'COMMON TONES' between the i and V (V7) chords! Let's see how it

looks if the 'COMMON TONE 'G' is on the TOP! (see below)

1. We'll use the 1st Inversion of the V & V7 Chords.

2. Look carefully at the Chord Progression, below.

3. Now that the 'Common Tone' G is the on the TOP, does the Chord Progression look SMOOTHER?

4. STEP #12 Memorize this 'SMOOTH' Chord Progression: i -- iv64 -- i -- V6 or V65 -- i (Remember to keep the I Chord in 'Root' position!)

5. Do you remember what V65 means?6. Finally, look carefully to see how keeping the 'Common Tone' on TOP SMOOTHS the 'Bass Line'!

STEP #13: Memorize this 'SMOOTH' Chord Progression: i -- iv64 -- i -- V6 or V65 -- i

STEP #14: Remember that in a minor Key when the V or V7 is in First Inversion: V6 or V65 that the 'RAISED 7th' or 'LEADING TONE' will be on the BOTTOM of the chord, and you must

apply the 'Raised 7th' accidental to that note! ALL V or V7 Chords are MAJOR!

chord #: 1. 2. 3. 4. 5. 6.www www wwwN wwwwN www

page 12

& # # #128

3. Write the key name above each example. Then, write the chords in each measure.

Use the harmonic minor scale. Write the chord symbol for each above the staff. Key of: ___________ LT = _______

i iv64 i V6 & V65 i

Lesson 61 & Activity #2, 'Minor Chord Progressions'�� Let's practice writing 'Root' position CHOPPY chord progressions then using select inversions to

make it sound smoother by completing Unit 15 Lesson 61 (p. 97).

�� We'll also use Lesson 61 as REFERENCE material when completing homework. Let's open Lesson 61, read the

Lesson and complete the Exercises...

�� Okay, next we'll look at the completion steps for Unit 15 Activity 2 worksheet, Exercise3.

Let's look at the first problem on Unit 15, Activity 2, Exercise 3:

& # # # # # #133 w w w w w w w w# w

Memorize these completion steps 1-15 to complete 'Unit 15 Activity 2, Exercise #4':1. The given Key Signature is the 'Relative Major' Key Signature. For example, the first problem's Major Key (above) is A Major...

2.. Look at the Key Signature and write the 'Relative Minor Key' name on the blank line after the: Key of: __________

3.. Remember to go DOWN a 'minor 3rd' to find the 'Relative Minor Key' name from the 'Relative Major Key' name.

4.. Grab a BLANK PIECE of manuscript paper and across one line bar 1 LONG measure followed by 5 shorter measures, see EX #6 below

5.. Write the complete Harmonic Minor Scale in the 1st LONG measure, using the completion steps on page 4, but this time write

TWO Scale Degrees #5 (for the V & the V7), see Example #6, below.

6. In measures 2-6 write the Roots of the i chord, iv chord, i chord, V & V7 chord, and then the i chord (see Example #6, line 1)

7.. Next, write the i, iv, V & V7 chords above the appropriate Scale Degrees on the Harmonic Minor Scale (see Example #6, line 2)

8. Then write the 'Root' position i, iv, i, V & V7, and i chords above the Roots (see Example #6, line 2)

9.. Next, write the chord notes of each chord beneath each chord (see Example #6, line 3)

10. Remember to keep the i chord in Root Position!

11. While keeping the i chord in Root Position look at the COMMON TONE of the iv chord and re-arrage the iv chord so

that its COMMON TONE with the i chord will be on the BOTTOM (this will be the 2nd inversion of the iv chord, or iv64)

12. Next, look at the COMMON TONES between the i chord and the V & V7 chords. Re-arrange the V & V7 chords

so that the COMMON TONE is on the TOP (remember to keep the i chord in ROOT POSITION).

13. You will find that the V & V7 chords will be in FIRST INVERSION (V6 and V65). Since the 3rd of the V and V7 chord is the

'Raised 7th' or the 'Leading Tone', it will need the same accidental as the 'Raised 7th'. Make sure you WRITE THAT accidental

next to the note!

14. Study Example #6 carefully. You could do all the steps on 1 manuscript paper line, but we've broken it down into 3 lines!

15. Don't forget to write the CHORD SYMBOLS above each chord! Study the 'Slash Chords' example below carefully!

1 2 3 4 5 5 6 7 8 1 4 1 5 5 1

Example #3, Line 1:

Scale degrees:

wKey of F# minor LT = E#

w w w w w

& # # # # # #139

www w w www www# wwwwa w w w1 2 3 4 5 5 6 7 8 1 4 1 5 5 1

i iv V V7 i iv i V V7 i

Scale degrees:

Roman Numerals:

Example #3, Line 2:

wwwF#m Bm F#m C# C#7 F#m

7: B

5: C# F# C# G# G# C#

3: A D A E# E # A

R: F# B F# C# C # F#:

www wwwwww# wwwwa www

& # # # # # #145 www w w www www# wwwwa w w w

1 2 3 4 5 5 6 7 8 1 4 1 5 5 1

i iv V V7 i iv64 i V6 V65 i

Scale degrees:

Roman Numerals:

Example #3, Line 3:

Key of F# minor LT = E#

wwwF#m Bm/F# F#m C#/E# C#7/E# F#mwwww www

wwwww##wwwwwwwaa] ] www

page 13

& bb bb151

1 2 3 4 5 5 6 7 8 1 4 1 5 5 1

i iv V V7 i iv64 i V6 & V65 i

7: :7

5: :5

3: :3

R: :R

2. Key of: _________ LT = ____ Write the Chord Symbols: _____ _____ _____ _____ _____ _____

Using completion steps 1-15 , now complete 'Unit 15 Activity 2, Exercise #4', problems 2-8! Remember to

'spell' the chords and look for COMMON TONES! And write the Chord Symbols above!

Scale degrees:

Roman Numerals:

? bbbb bbbb157

1 2 3 4 5 5 6 7 8 1 4 1 5 5 1


7: :7

5: :5

3: :3

R: :R


Scale degrees:

Roman Numerals:

? # # # #163

1 2 3 4 5 5 6 7 8 1 4 1 5 5 1


7: :7

5: :5

3: :3

R: :R


Scale degrees:

Roman Numerals:

& # # # # # ## # # #169

1 2 3 4 5 5 6 7 8 1 4 1 5 5 1


7: :7

5: :5

3: :3

R: :R


Scale degrees:

Roman Numerals:

&175

1 2 3 4 5 5 6 7 8 1 4 1 5 5 1


7: :7

5: :5

3: :3

R: :R


Scale degrees:

Roman Numerals:

page 14

? bbbbbb bbbbbb181

1 2 3 4 5 5 6 7 8 1 4 1 5 5 1


7: :7

5: :5

3: :3

R: :R


Scale degrees:

Roman Numerals:

& bbb bbb187

1 2 3 4 5 5 6 7 8 1 4 1 5 5 1


7: :7

5: :5

3: :3

R: :R


NOTE: all V or V7 chords are Major!

Do you know HOW to make them Major in a minor Key?

Scale degrees:

Roman Numerals:

& bbb193

1 2 3 4 5 5 6 7 8 1 4 1 5 5 1


7: :7

5: :5

3: :3

R: :R


Scale degrees:

Roman Numerals:

& bbb199

1 2 3 4 5 5 6 7 8 1 4 1 5 5 1


7: :7

5: :5

3: :3

R: :R


Scale degrees:

Roman Numerals:

& bbb205

1 2 3 4 5 5 6 7 8 1 4 1 5 5 1


7: :7

5: :5

3: :3

R: :R


Scale degrees:

Roman Numerals:

page 15

&211

∑

Part 1 Lesson 62 & 63; Activity #3 & #4

Modes

"I Don't Particularly Like Modes A Lot!"

Glossary Terms:• Mode: A system of scales that began in ancient Greece. It consists of eight notes in

alphabetical order (p. 98).

Modes (in order):

• Ionian Mode: A Major Scale, or C to C on the white keys of the piano. (p. 98)

• Dorian Mode: A natural minor Scale with the 6th raised a half step, or

D to D on the white keys of the piano (p. 98)

• Phrygian Mode: A Natural minor Scale with the 2nd lowered a half step, or E to E on the


• Lydian Mode: A Major Scale with the 4th raised a half step, or F to F on the white keys

of the piano (p. 98).

• Mixolydian Mode: A Major Scale with the 7th lowered a half step, or G to G on the


• Aeolian Mode: A Natural minor Scale, or A to A on the white keys of the piano (p. 99)

• Locrian Mode: A Natural minor Scale with the 2nd and 5th lowered a half

step, or B to B on the white keys of the piano (p. 98).

• Major Scale (Ionian mode): A Scale made up of eight notes - two tetrachords joined

by a Whole Step, or [W - W - H] - W - [W - W - H] (p. 43)

• Natural Minor Scale (Aeolian mode): Scale using only the tones of the 'Relative

Major Scale' and beginning on the 6th tone (p. 91)

page 16

&212

w w w w w w w w

Part 2, "Lesson 62", page 98

'Modes Related to the Major Scale: Ionian, Mixolydian & Lydian'• Just like a Major or minor scale, a Mode is a scale of eight notes in alphabetical order.

• A Mode can begin on any 'Scale Degree' of a Major scale using the Key Signature of

the parent scale.

• In the key of C, for example, a Mode can begin and end on C (I), on D (ii), on E (iii), etc -

no sharps or flats would be used.

• There are seven Modes and each has a Greek name.

• In the Key of C (imagine you're playing just white keys on the keyboard!), the modes are:

1. Beginning on C, and travelling C to C - Ionian Mode (Major Scale)

2. Beginning on D, and travelling D to D - Dorian Mode

3. Beginning on E, and travelling E to E - Phrygian Mode

4. Beginning on F, and travelling F to F - Lydian Mode

5. Beginning on G, and travelling G to G - Mixolydian Mode

6. Beginning on A, and travelling A to A - Aeolian Mode (Natural minor Scale)

7. Beginning on B, and travelling B to B - Locrian Mode

• Memorize: "to easily learn how to build any mode on a Keynote, it is helpful to relate the

Keynote to a Major or Natural minor Scale with slight alterations"

The following three modes relate to the Major Scale. (H = half step)

Ionian Mode -

a Major Scale

Mixolydian Mode -a Major Scale with the

7th lowered a half-step

Lydian Mode -a Major Scale with the

4th raised a half-step

1 2 3 4 5 6 7 8

C IonianC IonianC IonianC Ionian H H

&213

w w w w w w wb w1 2 3 4 5 6 (b)7 8

C MIXOLYDIANC MIXOLYDIANC MIXOLYDIANC MIXOLYDIAN

H H

&214

w w w w# w w w w1 2 3 (# ) 4 5 6 7 8

C LYDIANC LYDIANC LYDIANC LYDIANH H

?215 w w w w w1. Fill in the missing notes in the following Ionian Modes

a. G 'Ionian' b. F 'Ionian'

& w w w w w

?217 w w w w w2. Fill in the missing notes in the following Mixolydian Modes:

a. G 'Mixolydian' b. F 'Mixolydian'

& w w w w w

?219 w w w w w3. Fill in the missing notes in the following Lydian Modes:

a. G 'Lydian' b. F 'Lydian'

& w w w w w

page 17

&221

Part 3; Unit 15 Activity 3 'Modes Related to the Major Scale: Ionian, Mixolydian & Lydian'

• Completion steps for Activity #3 'Modes Related to the Major Scale - Ionian,

Mixolydian and Lydian' Exercise #2

Follow these 'completion' steps to write the Ionian, Lydian, or Mixolydian Modes...

1. Write the Major Key Signature

2. Write the Major Scale

3. For the 'Lydian' mode, raise the 4th scale degree a half-step (relative to the Key Signature)

4. For the 'Mixolydian' mode, lower the 7th scale degree a half-step (relative to the Key Signature)

• Learning Target: since the 'Lydian' mode is the SAME as the Major Scale except for a raised 4th

scale degree, simply write the Major Scale and raise the 4th scale degree 1 half-step

• Learning Target: since the 'Mixolydian' mode is the SAME as the Major Scale except for a lowered

7th scale degree, simply write the Major Scale and raise the 4th scale degree 1 half-step

• Write the given Lydian, Mixolydian & Ionian scales below using the completion

steps above....

Exercise 15A: write the F# Lydian scale

&222

Exercise 15B: write the Ab Lydian scale

&223

Exercise 15C: write the B Mixolydian scale

&224

Exercise 15D: write the Db Mixolydian scale

&225

Exercise 15E: write the E Ionian scale

&226 w w w w w w w w

Part 4, Lesson 63, page 99

'Modes Related to the Minor Scale: Aeolian, Dorian, Phrygian & Locrian'

The following four modes relate to the Minor Scale. (H = half step)

Aeolian Mode -

a 'Natural' Minor Scale

Dorian Mode -a 'Natural' Minor Scale

with the 6th raised

a half-step

Phrygian Mode -a 'Natural' Minor Scale

with the 2nd lowered

a half-step

Locrian Mode -a 'Natural' Minor Scale

with the 2nd and 5th

lowered a half-step.

This mode was not

used in ancient times

and is only occasionallyused in modern music

1 2 3 4 5 6 7 8

HHA aeolianA aeolianA aeolianA aeolian

&227 w w w w w w# w w1 2 3 4 5 (#) 6 7 8

HH

A dorianA dorianA dorianA dorian

&228 w wb w w w w w w

1 (b) 2 3 4 5 6 7 8

HHA phrygianA phrygianA phrygianA phrygian

&229 w wb w w wb w w w

1 ( b) 2 3 4 (b) 5 6 7 8

HH

A locrianA locrianA locrianA locrian

?230 w w w w w1. Fill in the missing notes in the following Aeolian Modes

a. E Aeolian b. D Aeolian

& w w w w w

?232

w w w w w2. Fill in the missing notes in the following Dorian Modes:

a. E Dorian b. D Dorian

& w w w w w

?234

w w w w w3. Fill in the missing notes in the following Phrygian Modes:

a. E Phrygian b. D Phrygian

Hint: write the E & D Aeolian (Natural minor) mode, then:

2 a & b - raise the 6th for Dorian mode

3 a & b - lower the 2nd for the Phrygian mode

& w w w w w

page 18

&236

Part 5; Unit 15 Activity 4 'Modes Related to the Minor Scale: Aeolian, Dorian, Phrygian and Locrian'

• Completion steps for Activity #4 'Modes Related to the Minor Scale - Aeolian, Dorian,

Phrygian and Locrian' Exercise #2

Follow these 'completion' steps to write the Aeolian, Dorian, Phrygian and Locrian Modes...

1. Write the Minor Key Signature

2. Write the Natural Minor Scale

3. For the 'Aeolian' mode, simply write the 'Natural Minor Scale'

4. For the 'Dorian' mode, raise the 6th scale degree a half-step (relative to the Key Signature)

5. For the 'Phrygian' mode, lower the 2nd scale degree a half-step (relative to the Key Signature)

4. For the 'Locrian' mode, lower the 2nd and 5th scale degree a half-step (relative to the Key Signature)

• Learning Target: since the 'Dorian' mode is the SAME as the Natural Minor Scale except for a raised 6th

scale degree, simply write the Natural Minor Scale and raise the 6th scale degree 1 half-step

• Learning Target: since the 'Phrygian' mode is the SAME as the Natural Minor Scale except for a lowered

2nd scale degree, simply write the Natural Minor Scale and lower the 2nd scale degree 1 half-step

• Learning Target: since the 'Locrian' mode is the SAME as the Natural Minor Scale except for a lowered

2nd & 5th scale degree, simply write the Natural Minor Scale and lower the 2nd & 5th scale degree 1 half-step

• Write the given Lydian, Mixolydian & Ionian scales below using the completion steps above....

Exercise 15F: write the G Aeolian scale

&237

Exercise 15G: write the C# Dorian scale

&238

Exercise 15H: write the Eb Dorian scale

&239

Exercise 15I: write the F# Phrygian scale

&240

Exercise 15J: write the D Phrygian scale

&241

Exercise 15K: write the Bb Locrian scale

page 19

&242 wb w w wb wb w wb wb1 2 3 4 5 6 7 8

Example 13-A: what mode is this?

Part 6: "I Don't Particularly Like Modes A Lot!"

Examples of Modes in Pop, Jazz & Classical Music: 'Real World' applications!

Let's go hear to listen:

http://www.classicfm.com/discover-music/latest/guide-to-musical-modes/

Let's go hear:

http://openmusictheory.com/popRockHarmony-EverettSystem2.html

Let's go hear:

http://openmusictheory.com/popRockHarmony-EverettSystem2.html

Dorian Songs for Guitar Mixolydian Songs for GuitarGet Lucky - Daft Punk Southern Cross - CSNY

Oye Como Va - Santana On Broadway - George Benson

So What - Miles Davis Verse of Sweet Child of Mine - Guns n Roses

Wicked Game - Chris Isaac Sweet Home Alabama - LynyrdSkynyrd

Boulevard of Broken Dreams - Green Day L.A. Woman - The Doors

Solo to Light My Fire - The Doors Seven Bridges Road - The Eagles

Moondance - Van Morrison Alright Now - Free

Who Will Save Your Soul - Jewel Solo on Marquee Moon - Television

Evil Ways - Santana Verse of She Sells Sanctuary - The Cult

Horse With No Name - America Cinnamon Girl - Neil Young

Summer Song - Joe Satriani

&243 w w wb w w w wb w1 2 3 4 5 6 7 8

Example 13-B: what mode is this?

For Examples 13-A & 13-B, want to know an EASY way to determine the mode? Look at the implied

Key Signature, and place the starting pitch in that Key!

Example 13-A solution: 4 flats = Ab Major. Starting pitch of the scale is Eb, which is the 5th pitch in Ab,

therefore 13-A is MIXOLYDIAN! (Mixolydian starts on the 5th scale degree of ANY Major Scale)

Example 13-B solution: 2 flats = Bb Major. Starting pitch of the scale is C, which is the 2nd pitch in Bb,

therefore 13-B is DORIAN! (Dorian starts on the 2nd scale degree of ANY Major Scale)

page 20

& w# w w w# w# w w# w#

Part 7: Review the "C Major Mode Chart"

Review & memorize: "I Don't Particularly Like Modes A Lot!"

Example 13-C: Identify the following 3 modes:

a. G# _____________________ b. Gb _____________________ c. G# ______________________

Completion steps for Example 13-C:1. Compare each to both the Major Scale and the Natural minor Scale. For example does 'a' look more like G# Major

or G# Natural minor?

2. After you decide which one it resembles more; next see what notes differ. For example, if one of the 3 Scales above

looks more like a Major Scale, and the only note that is different is the raised 4th, then it is Lydian mode.

wb wb wb w wb wb w wb w# w# w w# w# w w# w#

page 21

& w w w# w w w w# w


C Major Mode Chart

Let's memorize: "I Don't Particularly Like Modes A Lot!"

Suggestion: 1st thing on Unit 15 test, write this:

1. I: __________________

2. Don't: __________________

3. Particularly: __________________

4. Like: __________________

5. Modes: __________________

6. A: __________________

7. Lot: __________________

Now let's write the whole thing from memory:

1. _______ __________________

2. _______ __________________

3. _______ __________________

4. _______ __________________

5. _______ __________________

6. _______ __________________

7. _______ __________________

Example 13-D: Identify the following 3 modes:

a. D _____________________ b. Bb _____________________ c. A# ______________________

wb w w wb w w wb wbw# w w# w# w# w# w# w#

page 22

& w# w w w# w# w w w#

Example 13-E: Identify the following 3 modes:

a. C# _____________________ b. B _____________________ c. G ______________________

Completion steps for Example 13-E:1. Compare each to both the Major Scale and the Natural minor Scale. For example does 'a' look more like C#

Major or C# Natural minor?

2. Either 'think' the notes of the C# Major and C# Natural minor scale, or grab a piece of manuscript paper

and write them.

3. After you decide which one it resembles more; next see what notes differ. For example, if one of the 3 Scales

above looks more like a Natural minor Scale, and the only note that is different is the lowered 2nd, then it is

the Phrygian mode.

4. Look at Example 13-E 'a'. . Since C# to C# in the Key of E Major is the C# Natural minor Scale, the only note

that is different is the lowered 2nd, Dn. The mode that is a Natural minor Scale with a lowered 2nd Scale Degree is Phrygian.

Now, try the same completion steps for identifying and naming the modes below:


Let's recognize and identify the modes!

w w# w# w# w# w# w# ww wb wb w wb wb w w

& w# w# w w w# w# w w#Example 13-F: Identify the following modes in 'a - i'.

a. F# _____________________ b. Db _____________________ c. E ______________________

d. Bb _____________________ e. B _____________________ f. F ______________________

g. A _____________________ h. Cb _____________________ i. E# ______________________

wb w w wb w w wb wb w w w w wb w w w

&256 wb w wb wb w wb wb wb w w# w# w# w# w# w# w w w wb wb w w wb w

&259 w w w# w w w# w wwb wb wb w wb wb wb wb w# w# w# w# w# w# w# w#

page 23

&262


TRANSFER this to part 3, on page 17?

1. F# Mixolydian 2. C# Lydian 3. Gb Mixolydian

&265

21. A Ionian 22. E Mixolydian 23. B Lydian

&268

24. Db Mixolydian 25. Db Lydian 26. Eb Ionian

&271

Wow! Try brain-teasers 27-29 !

27. G# Mixolydian 28. Fb Lydian 29. D# Ionian

&

Example 13-G: Identify the following 3 modes:

a. Eb _____________________ b. Ab _____________________ c. F‹ ______________________

page 24

&277


Completion steps for Activity #4 & #5 'Modes Related to the Minor Scale - Aelian,

Dorian, Phrygian, Locrian' Exercise 2

Follow these 'completion' steps for Unit 15 Activity 4 & 5, Exercise #2:

1. Read and follow all directions!

2. Since you are writing the modes related to the minor Scale, write the 'Relative Major' Key

Signature for the given Dorian, Aeolian, Phrygian, & Locrian modes

3. For example, for Activity 4, Exercise 2 #9 - D# Dorian, write D#'s 'Relative Major' Key,

F# Major!

4. Then write the D# Natural minor Scale

5. Finally, raise the 6th scale degree a half-step to make it Dorian. Voila!

6. Review and memorize how Dorian, Phrygian and Locrian modes differ from the Natural

minor Scale!

Let's try the Exercises, below:

1. Eb Dorian 2. B Phrygian 3. B Locrian

&280

Activity 4, Exercise 2, #21-23

21. F# Aeolian 22. F# Dorian 23. A# Aeolian

&283

Activity 5, Exercise 2, #22-2422. C# Phrygian 23. G# Locrian 24. D Locrian

&286

Wow! Try brain-teasers 25-27 !

25. F Locrian 26. G Locrian 27. E# Aeloian

& bbbbb w∫ w∫b w∫ wb w∫ w∫ wb w∫Example 13-H: Identify the following 3 modes:

a. Ab _____________________ b. A# _____________________ c. F#______________________

wn wn wn w# wn w# w# wnwn w w w w w w wn

page 25

& bbbbb w∫ wb w∫b w∫ wb w∫ w∫b w∫


C Major Mode Chart

Let's memorize: "I Don't Particularly Like Modes A Lot!"

Suggestion: 1st thing on Unit 15 test, write this:

1. I: __________________

2. Don't: __________________

3. Particularly: __________________

4. Like: __________________

5. Modes: __________________

6. A: __________________

7. Lot: __________________

Now let's write the whole thing from memory:

1. _______ __________________

2. _______ __________________

3. _______ __________________

4. _______ __________________

5. _______ __________________

6. _______ __________________

7. _______ __________________

Example 13-M: Identify the following 3 modes:

a. Cb _____________________ b. B# _____________________ c. Db ______________________

wn wn w# wn w# w# wn wnwb w∫b w∫ wb w∫ w∫b w∫ wb

page 26

&295

Exercise #3, Minor Key Chord Chart (Test Question!): Write the KEY & all the chords for the example below using the

Harmonic minor Scale. Write the chord symbols above the staff, indicating whether the chord is Major (chord letter), minor (m),

Augmented (+) or diminished (o). Write the Roman Numerals below the staff using upper case for Major and Augmented and

lower case for minor and diminished. Indicate which chords are Augmented (+) or dim (o). 24 pts

F minor: ____ ____ ____ ____ ____ ____ ____ ____

____ ____ ____ ____ ____ ____ ____ ____Write the

Key ! !

Minor Key "Chord Charts" Review

&296



Augmented (+) or diminished (o). Write the Roman Numerals below the staff using upper case for Major and Augmented and lower

case for minor and diminished. Indicate which chords are Augmented (+) or dim (o). 24 pts

C# minor: ____ ____ ____ ____ ____ ____ ____ ____

____ ____ ____ ____ ____ ____ ____ ____Write the

Key ! !

&297





Bb minor: ____ ____ ____ ____ ____ ____ ____ ____

____ ____ ____ ____ ____ ____ ____ ____Write the

Key ! !

&298





D# minor: ____ ____ ____ ____ ____ ____ ____ ____

____ ____ ____ ____ ____ ____ ____ ____Write the

Key ! !

&299





G minor: ____ ____ ____ ____ ____ ____ ____ ____

____ ____ ____ ____ ____ ____ ____ ____Write the

Key ! !

& 44 wwwbChord Symbols: (above) EX 1. _______ 2. _______ 3. _______ 4. ________ 5. ________ 6. ________ 7. _________ 8. ________

Fifth: ____ ____ ____ ____ ____ ____ ____ ____ :Fifth

Third: ____ ____ ____ ____ ____ ____ ____ ____ :Third

Root: ____ ____ ____ ____ ____ ____ ____ ____ :Root

A: Identify Triads and Seventh chords with Chord Symbols

Directions:

1. Write the Chord Symbol above for each of the 'Root position', 1st or 2nd inversion Triads 1-16.

2. Write the Chord Symbol above for each of the 'Root position', 1st, 2nd or 3rd inversion V7 chords for 17-313. If the Triad is inverted identify the 'Root' and use a 'Slash Chord'.

4. Spell each chord on the blanks below! Chord types include Major, minor, & Augmented for 1-16. Chords 17-31

are all V7 chords. SPELL each chord and compare to Major!

Name:________________________________Date:_______Period #:_____

Unit 15 Chord Symbol Review Quiz

Cm/Eb

G

Eb

C

www## wwwb wwwbbb www www#wwwb www#

?308

www##Chord Symbols: (above) 9. _______ 10. _______ 11. _______ 12. ________ 13. ________ 14. ________ 15. ________ 16. ________

Fifth: ____ ____ ____ ____ ____ ____ ____ ____ :Fifth

Third: ____ ____ ____ ____ ____ ____ ____ ____ :Third

Root: ____ ____ ____ ____ ____ ____ ____ ____ :Root

wwwbb www# wwwbbb www### wwwbb www wwwbb

&316wwwwb

Chord Symbols: EX : _______ 17. _______ 18. _______ 19. ________ 20. ________ 21. ________ 22. ________ 23. ________

7th: ____ ____ ____ ____ ____ ____ ____ ____ :7th

Fifth: ____ ____ ____ ____ ____ ____ ____ ____ :Fifth

Third: ____ ____ ____ ____ ____ ____ ____ ____ :Third

Root: ____ ____ ____ ____ ____ ____ ____ ____ :Root

F7/Eb

Eb

C

A

F

wwwwbbbb wwwwbbb wwww## wwww# wwww# wwww### wwww#

?324

wwwwbChord Symbols:

24. _______ 25.. _______ 26. _______ 27. ________ 28. ________ 29. ________ 30. ________ 31. ________

7th: ____ ____ ____ ____ ____ ____ ____ ____ :7th

Fifth: ____ ____ ____ ____ ____ ____ ____ ____ :Fifth

Third: ____ ____ ____ ____ ____ ____ ____ ____ :Third

Root: ____ ____ ____ ____ ____ ____ ____ ____ :Root

wwwwbbb wwwwbb wwww# wwww## wwwwbbb wwww### wwww#

&332

Blank manuscript:

&336

Blank manuscript:

& bbbb340

Exercise #3 (Test Question!): Write the KEY & all the chords for the example below using the Harmonic minor

Scale. Write the chord symbols above the staff, indicating whether the chord is Major (chord letter), minor (m),

Augmented (+) or diminished (o). Write the Roman Numerals below the staff using upper case for Major and

Augmented and lower case for minor and diminished. Indicate which chords are Augmented (+) or dim (o). 24 pts

F minor: ____ ____ ____ ____ ____ ____ ____ ____

____ ____ ____ ____ ____ ____ ____ ____Write the

Key ! !

unit 15 guided study notes 2018 -...

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